Japanese Calligraphy
Japanese calligraphy
The history of Japanese calligraphy begins with the importation of the Chinese writing system, called Kanji 漢字 (Japanese for "characters of the Han Dynasty of China"), in the early 5th century AD, although Chinese characters first appeared in Japan on various items brought from China by the early 1st century AD. By this time, the Chinese writing system was already fully developed. There were approximately 50,000 Kanji in circulation, 5 main styles of calligraphy, and numerous sub-styles. Japanese linguistics and grammar are very different from those of China, and the need to imprint a writing system on an entirely new language posed a practical problem.
However, this also led to the creation of calligraphy styles used exclusively in Japan, such as Kana 仮名. During the Asuka 飛鳥時代 (538 to 710 AD, although dates may vary depending on different historical events) and Nara 奈良時代 (710 to 794 AD) eras, copying Buddhist sutras was already a very popular practice, which greatly contributed to strengthening the appreciation and fascination with Chinese culture. At that time, Japanese calligraphy was especially influenced by the writing styles developed during the Jin Dynasty 晉朝 (265 to 420 AD) and the Tang Dynasty 唐朝 (618 to 907 AD). This general trend was called KARAYOU 唐様 (lit. “Tang style”), meaning “Chinese style”.
One of the great admirers of Buddhist teachings was the Japanese prince Shotoku Taishi 聖徳太子 (574-622), who promoted its philosophy and also built several important temples. He was the one who strengthened the popularity of SHAKYOU 写経 (the hand copying of the sutras), which also led to the development of calligraphy in Japan. At that time, Japanese calligraphy (Sho) was still deeply influenced by Chinese masters such as Wang Xizhi 王儀之 (303-361). A large number of works were based on his style, up to the Heian period 平安時代 (794-1185 AD). The 10th century was a time of significant changes for Japanese calligraphy. It was when Ono No Michikaze 小野道風 (894 to 966, also known as Ono No Toufuu) introduced a new approach thus appearing the first truly Japanese style, called WAYOUSHODO 和様書道 (lit. "Japanese style calligraphy"). This trend however, was brought earlier by the famous Buddhist monk and excellent calligrapher Kuukai 空海 (774 to 835), who earned the sacred Buddhist name of "the great (Buddhist) master" or KOUBOU DAISHI 弘法大師.
It was then that Japanese calligraphy and literature definitively separated from Chinese.
Ono no Toufuu was considered one of the Sanseki 三蹟 (lit. “three brush strokes”) of the 10th century, along with two other individuals, Fujiwara no Sukemasa 藤原佐理 (944 to 998) and Fujiwara no Yukinari 藤原行成 (972 to 1027). Michikaze was so talented that he was enlisted in the imperial quarters at the age of 27. He was a diligent calligrapher and his style was naturally powerful and easy on the soul. The other two of the Sanseki contributed greatly to the further development of what Michikaze had begun. A good example of his work, which not only shows Michikaze's potential and artistic ability, but also the versatility of his style, was Gyokusen Jou 玉泉帖, a Kansubon 巻子本 (lit. “rolled book”), with poems that were composed during the Tang Dynasty of China. It is also a great masterpiece of Wayoushodo, full of surprising rhythm, with good proportion, with great variety of strength in the lines, where the slow trace of the brush suddenly rushes across the paper, thus mocking the changes of the emotional state of the artist. Wayoushodo was based on the calligraphy styles Sougana 草仮名 (cursive Kana) and Kana 仮名, which come from Manyougana 万葉仮名 (“Kana of ten thousand leaves”). It was a consequence of the practice of the native aesthetics of Japan by the members of the upper class. The Manyougana was a remedy for the grammatical differences between the Chinese and Japanese languages. Manyougana was used as a grammatical filler, for suffixes, particles, etc., replacing the Kanji that were used phonetically, and that, because they already had a meaning, caused so much confusion and errors when trying to understand a text. Imagine how difficult it must have been to read texts that combined Kanji with semantic roles and others that only reflected sounds. Around the 12th century there were approximately 1,000 Kanji in use as Manyougana. Sougana is nothing other than a Manyougana in cursive script, therefore, a Sosho 草書. The simplified Sougana gave birth to modern Hiragana 平仮名, a Japanese style. Today, the Japanese language has 3 writing systems: Kanji, Hiragana and Katakana 片仮名. Both Katakana and Hiragana are syllabaries, not alphabets, as they do not carry semantic meanings. Hiragana is based on the simplification of the cursive forms of Kanji (simplified Sousho), and Katakana on Kanji in their standard form. Hiragana has replaced the problematic Manyougana with much simpler forms, although the two writing systems are still used (together) in the high-level art of Japanese calligraphy, i.e. Kana. Katakana is rarely used in calligraphy. Its use is more focused on writing words that come from abroad, for commercial or advertising language, etc.
During the Kamakura period 鎌倉時代 (1185 to 1333), the art of writing was strongly influenced by the philosophy of Buddhism, and especially by Zen Buddhism. The first school of Zen Buddhism on Japanese soil was Rinsai 臨剤, founded in the 12th century, and it still exists today throughout Japan with its numerous branches. Its influence on the military and culture was notable, and it also extended to calligraphy. Zen calligraphy is called Bokuseki 墨蹟 ("ink traces") and is quite liberal in its form, following very loose rules, at most. In fact, no choice is made to decide the final shape of the characters or the definition of space. Zen monks are generally not professional calligraphers, at least not all of them, so their writing is unrestrained. Zen calligraphy is written with the whole body, standing upright, by engaging an "empty mind" and pure emotion. Zen calligraphy is extremely abstract and because of its deviation from strict rules, it is also quite difficult for orthodox calligraphers to appreciate. However, it is fascinating and very spiritual. Modern calligraphy of the 20th century, which draws heavily on abstract Western schools of painting, is related in its overall look and concept to Bokuseki. One of the differences is that Bokuseki is based on Karayoushodo (Chinese calligraphy styles), while avant-garde calligraphy (Zenei Shodo) draws heavily on Wayoushodou aesthetics, the Japanese style. Until the Edo period 江戸時代 (1603 to 1868), both schools, Wayoushodo and Karayoushodo, coexisted harmoniously, but in the 17th century Japan entered a long period of cultural isolation. During those years a new style based on Wayoushodo appeared, known as OIE RYUU 御家流 (lit. "Noble family style"). It was also called the "samurai family style", and was based on the principles of the famous Terakoya school 寺子屋, which educated children born into middle-class families. Reading and writing were the main subjects, although they were the only subjects taught. Students learned by imitating the teachers' writing, which was presented in the Tehon 手本 (copy book). This is a method that is still followed in Japan today, as far as beginners are concerned. During the Edo period, a peculiar group of styles appeared, called Edo Moji 江戸文字 (lit. “characters of the Edo period”). They were used mainly for design, such as writing the names of sumo wrestlers, shop signs, etc. Today, calligraphers consider it more of a craft than an art, having little or nothing in common with the traditional way of writing Chinese characters. At the end of the Edo period, Japan’s isolation was ended, and calligraphers again became interested in the much-loved Karayou styles. The study of the concepts of the basic styles, such as Kaisho, Gyousho, and Sousho, as well as the other older styles such as Reisho, Tensho, or even Koukotsubun, became quite popular in professional calligraphy circles. Today, with easy access to information, cultural exchange, and the growing popularity of calligraphy, calligraphers are increasingly interested in the traditional way of writing Chinese characters. has ascended to a whole new level. Far Eastern calligraphy was deeply influenced by modern abstract painting, and vice versa. Consequently, a style called Bokusho 墨象 "ink picture" developed in Japan. It was a cross between calligraphy, Sumi-e and modern abstract art. It is also known as avant-garde calligraphy. The forerunner of “ink painting” was the great master calligrapher Hidai Tenrai 比田井天来 (1872-1939). Furthermore, designers with a background in calligraphy have contributed to the creation of a “Pop style”, often breaking the strict laws of calligraphy. With this, logos and other imaginative compositions, based on the typographic ideas of Kanji or related Chinese characters, have been given a complete makeover. Many old-school calligraphers see it as a dangerous practice, which can lead to a relaxation of the rules and therefore to a Sho with a diluted beauty, similar to what the simplification of Chinese characters does to Kanji-based writing systems. Still, since this “Pop style” is deeply rooted in Far Eastern aesthetics, it can seem very interesting even to the most rigid calligrapher. However, one should be careful with modern approaches and such "styles" of calligraphy.*Article provided by Ponte Ryuurui and translated from English to Spanish by Elena HIkari.